Best Actor: Comedy or Musical

Best Actor: Comedy or Musical

Best Actor: Comedy or Musical

Best Actress: Comedy or Musical

Best Actress: Comedy or Musical

Best Actress: Comedy or Musical

Best Actress: Comedy or Musical

Best Actress: Comedy or Musical

Best Foreign Language Film

Best Foreign Language Film

Best Foreign Language Film

Best Foreign Language Film

Best Foreign Language Film

Best Animated Feature

Best Animated Feature

Best Animated Feature

Frozen
The creative sparks that gave rise to "Snow White and the Seven Dwarfs," "Sleeping Beauty" and "The Little Mermaid" course through its lifeblood. And for sheer princess-centric, femme-focused appeal, "Frozen" arguably outdoes them all, placing not one but two royal heroines, Anna and Elsa, at the center of a story very loosely inspired by Hans Christian Andersen's classic "The Snow Queen."
— Review by Justin Chang

Captain Phillips A high seas mix of international piracy, globalization’s side effects, and a super-powered American military makes for a thought-provoking docudrama thriller in director Paul Greengrass’ masterful hands. Keenly executed, close-to-the-bone turns from Tom Hanks and newcomer Barkhad Abdi anchor the high-stakes action, which could earn the movie big love on Globes night. — Robert Abele

Gravity Viewers of this ambitious film are spun around, flipped and thrown like the inside of a dryer, then juggled in zero G until it’s nearly impossible to tell which way is up. A fleet story keeps “Gravity” tenuously tethered to solid ground, and though most of its fun is purely visual, it’s a film that has engrossed its audience, and the HFPA, from every angle. — Steve Heisler

Philomena This odd-couple drama, about a working-class mother and a jaded reporter who go on a search for a long-lost child, mixes warmth and shameless humor to tackle some dark subject matters. Steve Coogan’s writing and Stephen Frears’ direction allow its protagonists Judi Dench and Coogan to be simultaneously understated and hilarious in a film that is touching without being manipulative. — Carita Rizzo

Rush Ron Howard’s colorful, witty and sleekly suspenseful Formula One sports drama may not have won at the box office, but its fizzy European flair has obviously struck a chord with the HFPA. With bracing perfs (especially from Daniel Bruhl) and a juicy competitive spirit, it’s a worthy underdog, for sure. — Robert Abele

12 Years a Slave Like any award giver, the HFPA craves respect and “12 Years” dramatizes a historical tragedy with an unflinching eye rare in American movies. At the same time, it brings a long forgotten literary classic back to life. No project could be better engineered to reflect distinction on an organization electing to honor it. — Bob Verini

Matthew McConaugheyDallas Buyers Club” Abandoning romantic-comedy of late, McConaughey has been taking on meatier roles, including the inspired-by-true-events story of a womanizing, homophobic Texas cowboy who contracts the AIDS virus. With one month left to live, he battles the medical establishment and the FDA to get the drugs he needs to extend his life and becomes an unlikely hero to the gay community. — Jerry Rice

Tom Hanks Captain Phillips” As the veteran captain of a ship ransacked by gun-wielding Somali pirates, Hanks delivers a deftly restrained perf that slowly and meticulously gives way to a ravaging emotional breakdown that makes up some of the most captivating 15 minutes of 2013 cinema. At a time when globalization has turned the world into a cold, hard place, Hanks’ Captain Phillips never relinquishes his humanity. — Malina Saval

Idris Elba Mandela: Long Walk to Freedom” When it comes to awarding players who bring such historic visionaries as Gandhi and Lincoln to cinematic life, HFPA has routinely shown its appreciation. Elba doesn’t merely capture Madiba’s passion and keen intelligence, he renders fully believable the beloved leader’s moral transformation that would inspire him to forgive his oppressors after decades of brutal imprisonment. — Bob Verini

Chiwetel Ejiofor 12 Years a Slave” Ejiofor transforms seamlessly into Solomon Northup, a free black man unceremoniously tossed into Dante’s Inferno and left for dead. Kudos voters have to admire his acting challenge: The character can’t reveal anything he’s thinking to his captors, but the thesp must reveal everything to us. Ejiofor pulls it off brilliantly. — Bob Verini

Robert Redford “All Is Lost As an unlucky sailor struggling to survive aboard a damaged yacht swept up by storms and surrounded by sharks in the Indian Ocean, Redford delivers a nearly wordless performance. The 77-year-old — who earned a Globe for directing “Ordinary People” and the Cecil B. DeMille Award in 1994 — triumphed over the challenges of the physically demanding role, doing nearly all his own stunts. — Jerry Rice

Cate Blanchett “Blue Jasmine Blanchett’s wealthy WASP character is plagued by first world problems. So when her cushy life comes crashing down with a single lawsuit, she is saddled with panic attacks. Blanchett wears herself down with the mental gymnastics of someone who only worries about things she can’t control, and her performance is a layered and relatable take on people who seemingly have it better than everyone else. — Steve Heisler

Sandra Bullock “Gravity In this gripping sci-fi fantasy, Bullock plays a novice astronaut struggling to survive when she gets stranded in space. The actress spent weeks clamped to a robotic arm that twisted her body around inside a small space. Bullock manages to turn a highly technical performance into an emotional and believable journey that she alone carries for the majority of the 90-minute movie. — Carita Rizzo

Judi Dench“Philomena Dench portrays a working-class Irish woman who travels across the globe in search of the son she was forced to give up for adoption by the Catholic Church. The 79-year-old Dench gives dignity and strength to a character that easily could have fallen into overly sentimental territory. The 11-time nominee and two-time winner hasn’t nabbed a Globe in over a decade and may be overdue. — Carita Rizzo

Emma Thompson“Saving Mr. Banks Thompson personifies, in all of her prickly contentiousness, the tragic heroine in author P.L. Travers, born into a dysfunctional alcoholic home in Australia. In a role that is even more compelling during the moments when Thompson says little or nothing at all, the British actress skillfully pulls off the dark, deep-rooted sadness that forms the basis of Travers’ emotional journey. — Brandon Shaw

Kate Winslet “Labor Day In a performance so nuanced it risks being underestimated, Winslet tackles an absurd premise: A brokenhearted woman falls for the escaped convict who invades her home and helps her reawaken to the beauty in the world. With her collection of three previous Globes, Winslet’s quiet display is definitely worthy of a fourth. — Randee Dawn

Her In this Spike Jonze-helmed sci-fi romance, Joaquin Phoenix plays a lonely writer who falls in love with his operating system (voiced by Scarlett Johansson). In the past, Globe voters have been enchanted by Jonze’s offbeat storytelling, which earned him director and best pic noms in 2003 for “Adaptation,” and are sure to be enamored by this colorful futuristic tale as well. — Kate Hahn

American Hustle Disco-era con man (Christian Bale) and his partner (Amy Adams) are forced to inform for the FBI in David O. Russell’s gold-chain of fools tale. With a formidable seven noms, including for directing, screenplay and a supporting nom for Globe sweetheart Jennifer Lawrence, who won in the lead actress category for Russell’s 2012 “Silver Linings Playbook,” it’s a front-runner. — Kate Hahn

Inside Llewyn Davis Critics are swooning for brothers Joel and Ethan Coen’s profile of a struggling singer-songwriter (Oscar Isaac) on the 1960s folk scene. The Coens’ track record, a combined 10 career Globe noms, means double trouble for the competition. HFPA loves musicals and this pic comes the closest to that genre in this category, recalling the Coens’ 2001 nom, “O Brother, Where Art Thou?” That the pic’s original song nom, pop-folk satire “Please, Mr. Kennedy,” gets stuck in your head can only boost the film’s chances — Kate Hahn

Nebraska
An aging alcoholic (Bruce Dern) and his son (Will Forte) hit the road to claim a bogus sweepstakes prize in this B&W pic from Alexander Payne. With five noms, second only to "Hustle," "Nebraska" has HFPA's attention. These voters have already given best pic awards to two of Payne's studies of flawed men doing the best they can: "The Descendants" (2012) and "Sideways" (2005).
— Kate Hahn

The Wolf of Wall Street Martin Scorsese directs Leonardo DiCaprio as a decadent New York stockbroker in this epic party of a film from a memoir by Jordan Belfort. If history is any indication, “Wolf” could bite. After all, Scorsese directed DiCaprio in 2004 Globe drama winner “The Aviator,” another biopic showing the dark side of an American success story. — Kate Hahn

Joaquin Phoenix Her Spike Jonze’s sci-fi love story presented Phoenix, who plays a heart-broken professional letter writer, with an interesting acting challenge: developing a relationship and falling in love with the disembodied, albeit soothing and sultry, voice of his computer operating system. His courtship includes traditional touches, such as a day trip to the beach, and Phoenix brings their partially meta courtship to life in a real way. — Jerry Rice

Leonardo DiCaprio The Wolf of Wall Street” DiCaprio captures the rise and spectacular fall of a reckless New York stockbroker. Thesp is front and center for much of this three-hour biopic, whether it’s delivering chest-pumping speeches or dealing with the effects of too much vodka and Quaaludes. The HFPA has been a longtime fan, this year presenting DiCaprio his 10th nom; he won a trophy in 2005 for “The Aviator.” — Jerry Rice

Oscar Isaac Inside Llewyn Davis” The roster of past winners demonstrates that the foreign press likes new faces and loves bad boys who sing. In his first starring role, charismatic stage vet Isaac balances Llewyn’s misanthropy and narcissism with sweet folk melody. He reminds us that musical genius may lack character, but never wants for soul. — Bob Verini

Bruce Dern Nebraska” Dern’s Woody Grant is a man of few words, but he doesn’t need many. The seasoned thesp’s face and body vividly convey a lion in winter who’s still got a few roars left in him. Globe voters are partial to Hollywood vets, comeback sagas and stories about elders’ wisdom; Dern wraps up all three into one heartwarming package. — Bob Verini

Christian Bale “American Hustle An intelligent but often willfully distancing actor, Bale showcases warmth and bracing comic acumen in David O. Russell’s “American Hustle.” The irony, however, is that Bale’s commanding performance as a lovestruck con man in a neurotic spiral over an escalating FBI sting operation comes from under a hilarious mask of a hair sprayed comb-over, paunch, and garish ’70s threads. — Robert Abele

Amy Adams “American Hustle She may play bad, but in this fast-paced romp, Adams is very, very good. As a con woman angling to amass big cash, Adams swaps her typical sweet innocence for a cool, cunning demeanor that never fully tips into evil. Funny, sexy and always sympathetic, Adams is a five-time Globe nominee and she’s due a big coup. — Randee Dawn

Julie Delpy Before Midnight” From the moment Celine stepped off the train with American backpacker Ethan Hawke (Jesse) in “Before Sunrise,” there hasn’t been one false note in Delpy’s perf. Their cinematic romance reaches its heady Bergman-esque climax in the form of a heated argument in which Delpy explosively airs her marital frustration. It’s a spot-on moment to which any married person with kids can attest. — Malina Saval

Greta Gerwig Frances Ha” Gerwig’s turn as a hapless dancer freshly sprung from college perfectly captures the essence of rudderless young adulthood — messy, humiliating and bipolar in its rapid cycling ups and downs. The scene that sums it up best is when Frances’ credit card is declined at a restaurant and she races crosstown to find cash, tripping and falling flat on her face. Gerwig’s perf, however, doesn’t miss a single step. — Malina Saval

Julia Louis-Dreyfus “Enough Said She won a Globe for “Seinfeld,” and if Elaine Benes were busted by a girlfriend for dating said friend’s ex, she’d bluster and lie her way out of it. But in Nicole Holofcener’s dramedy, a humiliated Eva (Louis-Dreyfus) ’fesses up with heartbreaking shame. It’s a change of pace for the “Veep” star that the foreign press can’t help but embrace. — Bob Verini

Meryl Streep August: Osage County” A favorite of the HFPA, Streep, who nabbed the actress (drama) prize in 2012 for “The Iron Lady,” is particularly deserving in this bigscreen adaptation of Tracy Lett’s Tony Award-winning play. With her withering line delivery, Streep plays a wicked matriarch of near-biblical proportions. In a field of mostly youngsters, win No. 9 would be no shocker. — Bob Verini

The Great Beauty Italy Passion via the intellect has become helmer Paolo Sorrentino’s trademark, well-suited to this dissection of empty diversions, indulged in by latter-day Neros fiddling while Rome burns. The helmer also reveals his immersion in the great Italian cinema of the past, and even when every ingredient can’t be identified, the individual flavors will be familiar to most cineastes. — Review by Jay Weissberg

Blue Is the Warmest ColorFrance
"I have infinite tenderness for you," one woman tells another in "Blue Is the Warmest Color," and it's a sentiment that also describes director Abdellatif Kechiche's attitude toward his characters in this searingly intimate, daringly attenuated
portrait of a French
teenager and her
passionate relationship with another femme.
— Review by Justin Chang

The HuntDenmark
Known for his often icy and violent characters, Mads Mikkelsen impresses here as a warm-hearted man caught up in a situation beyond his control; thesp makes Lucas' immediate isolation and subsequent frustration tangible. Just as good is little Annika Wedderkopp, delivering an impressive perf that suggests she is caught up in something she can
barely understand.
— Review by
Boyd van Hoeij

The Past Iran
This is an exquisitely sculpted family melodrama (from director Asghar Farhadi) in which the end of a marriage is merely the beginning of something else, an indelible tapestry of carefully engineered revelations and deeper
human truths.
— Review by Justin Chang

The Wind RisesJapan “Wind” is easily the most realistic film Hayao Miyazaki has made, with one of its running themes being the power of imagination to turn dreams into reality, and how quickly those same dreams can become nightmares. And though Miyazaki has stated that the intention of the film is not to condemn war, pic continues the strong pacifist themes of his earlier “Nausicaa” and “Princess Mononoke.” — Review by Scott Foundas

The Croods Highlights include an early hunt, with an egg passed from character to character, that gains much from well-timed, Wile E. Coyote-style slapstick; and a nifty escape sequence involving volcanic eruptions, sticky tar and, of all things, makeshift puppets. ... Throughout the animators have lavished loving attention on how different kinds of light (moon, sun, fire) play on the surfaces of skin, fur and landscape. — Review by Leslie Felperin

Despicable Me 2
Co-directors Chris Renaud and Pierre Coffin fully commit to this oddly old-fashioned agenda, presenting a world where a top-heavy hunchback on spindly little legs can be twisted into pretzels when the situation demands. Their playful attitude extends to the voices, which account for much of the pic's appeal. That certainly goes for the Minions (whom the helmers perform themselves).
— Review by Peter Debruge

Frozen
The creative sparks that gave rise to "Snow White and the Seven Dwarfs," "Sleeping Beauty" and "The Little Mermaid" course through its lifeblood. And for sheer princess-centric, femme-focused appeal, "Frozen" arguably outdoes them all, placing not one but two royal heroines, Anna and Elsa, at the center of a story very loosely inspired by Hans Christian Andersen's classic "The Snow Queen."
— Review by Justin Chang

Captain Phillips A high seas mix of international piracy, globalization’s side effects, and a super-powered American military makes for a thought-provoking docudrama thriller in director Paul Greengrass’ masterful hands. Keenly executed, close-to-the-bone turns from Tom Hanks and newcomer Barkhad Abdi anchor the high-stakes action, which could earn the movie big love on Globes night. — Robert Abele

Gravity Viewers of this ambitious film are spun around, flipped and thrown like the inside of a dryer, then juggled in zero G until it’s nearly impossible to tell which way is up. A fleet story keeps “Gravity” tenuously tethered to solid ground, and though most of its fun is purely visual, it’s a film that has engrossed its audience, and the HFPA, from every angle. — Steve Heisler

Philomena This odd-couple drama, about a working-class mother and a jaded reporter who go on a search for a long-lost child, mixes warmth and shameless humor to tackle some dark subject matters. Steve Coogan’s writing and Stephen Frears’ direction allow its protagonists Judi Dench and Coogan to be simultaneously understated and hilarious in a film that is touching without being manipulative. — Carita Rizzo

Rush Ron Howard’s colorful, witty and sleekly suspenseful Formula One sports drama may not have won at the box office, but its fizzy European flair has obviously struck a chord with the HFPA. With bracing perfs (especially from Daniel Bruhl) and a juicy competitive spirit, it’s a worthy underdog, for sure. — Robert Abele

12 Years a Slave Like any award giver, the HFPA craves respect and “12 Years” dramatizes a historical tragedy with an unflinching eye rare in American movies. At the same time, it brings a long forgotten literary classic back to life. No project could be better engineered to reflect distinction on an organization electing to honor it. — Bob Verini

Matthew McConaugheyDallas Buyers Club” Abandoning romantic-comedy of late, McConaughey has been taking on meatier roles, including the inspired-by-true-events story of a womanizing, homophobic Texas cowboy who contracts the AIDS virus. With one month left to live, he battles the medical establishment and the FDA to get the drugs he needs to extend his life and becomes an unlikely hero to the gay community. — Jerry Rice

Tom Hanks Captain Phillips” As the veteran captain of a ship ransacked by gun-wielding Somali pirates, Hanks delivers a deftly restrained perf that slowly and meticulously gives way to a ravaging emotional breakdown that makes up some of the most captivating 15 minutes of 2013 cinema. At a time when globalization has turned the world into a cold, hard place, Hanks’ Captain Phillips never relinquishes his humanity. — Malina Saval

Idris Elba Mandela: Long Walk to Freedom” When it comes to awarding players who bring such historic visionaries as Gandhi and Lincoln to cinematic life, HFPA has routinely shown its appreciation. Elba doesn’t merely capture Madiba’s passion and keen intelligence, he renders fully believable the beloved leader’s moral transformation that would inspire him to forgive his oppressors after decades of brutal imprisonment. — Bob Verini

Chiwetel Ejiofor 12 Years a Slave” Ejiofor transforms seamlessly into Solomon Northup, a free black man unceremoniously tossed into Dante’s Inferno and left for dead. Kudos voters have to admire his acting challenge: The character can’t reveal anything he’s thinking to his captors, but the thesp must reveal everything to us. Ejiofor pulls it off brilliantly. — Bob Verini

Robert Redford “All Is Lost As an unlucky sailor struggling to survive aboard a damaged yacht swept up by storms and surrounded by sharks in the Indian Ocean, Redford delivers a nearly wordless performance. The 77-year-old — who earned a Globe for directing “Ordinary People” and the Cecil B. DeMille Award in 1994 — triumphed over the challenges of the physically demanding role, doing nearly all his own stunts. — Jerry Rice

Cate Blanchett “Blue Jasmine Blanchett’s wealthy WASP character is plagued by first world problems. So when her cushy life comes crashing down with a single lawsuit, she is saddled with panic attacks. Blanchett wears herself down with the mental gymnastics of someone who only worries about things she can’t control, and her performance is a layered and relatable take on people who seemingly have it better than everyone else. — Steve Heisler

Sandra Bullock “Gravity In this gripping sci-fi fantasy, Bullock plays a novice astronaut struggling to survive when she gets stranded in space. The actress spent weeks clamped to a robotic arm that twisted her body around inside a small space. Bullock manages to turn a highly technical performance into an emotional and believable journey that she alone carries for the majority of the 90-minute movie. — Carita Rizzo

Judi Dench“Philomena Dench portrays a working-class Irish woman who travels across the globe in search of the son she was forced to give up for adoption by the Catholic Church. The 79-year-old Dench gives dignity and strength to a character that easily could have fallen into overly sentimental territory. The 11-time nominee and two-time winner hasn’t nabbed a Globe in over a decade and may be overdue. — Carita Rizzo

Emma Thompson“Saving Mr. Banks Thompson personifies, in all of her prickly contentiousness, the tragic heroine in author P.L. Travers, born into a dysfunctional alcoholic home in Australia. In a role that is even more compelling during the moments when Thompson says little or nothing at all, the British actress skillfully pulls off the dark, deep-rooted sadness that forms the basis of Travers’ emotional journey. — Brandon Shaw

Kate Winslet “Labor Day In a performance so nuanced it risks being underestimated, Winslet tackles an absurd premise: A brokenhearted woman falls for the escaped convict who invades her home and helps her reawaken to the beauty in the world. With her collection of three previous Globes, Winslet’s quiet display is definitely worthy of a fourth. — Randee Dawn

Her In this Spike Jonze-helmed sci-fi romance, Joaquin Phoenix plays a lonely writer who falls in love with his operating system (voiced by Scarlett Johansson). In the past, Globe voters have been enchanted by Jonze’s offbeat storytelling, which earned him director and best pic noms in 2003 for “Adaptation,” and are sure to be enamored by this colorful futuristic tale as well. — Kate Hahn

American Hustle Disco-era con man (Christian Bale) and his partner (Amy Adams) are forced to inform for the FBI in David O. Russell’s gold-chain of fools tale. With a formidable seven noms, including for directing, screenplay and a supporting nom for Globe sweetheart Jennifer Lawrence, who won in the lead actress category for Russell’s 2012 “Silver Linings Playbook,” it’s a front-runner. — Kate Hahn

Inside Llewyn Davis Critics are swooning for brothers Joel and Ethan Coen’s profile of a struggling singer-songwriter (Oscar Isaac) on the 1960s folk scene. The Coens’ track record, a combined 10 career Globe noms, means double trouble for the competition. HFPA loves musicals and this pic comes the closest to that genre in this category, recalling the Coens’ 2001 nom, “O Brother, Where Art Thou?” That the pic’s original song nom, pop-folk satire “Please, Mr. Kennedy,” gets stuck in your head can only boost the film’s chances — Kate Hahn

Nebraska
An aging alcoholic (Bruce Dern) and his son (Will Forte) hit the road to claim a bogus sweepstakes prize in this B&W pic from Alexander Payne. With five noms, second only to "Hustle," "Nebraska" has HFPA's attention. These voters have already given best pic awards to two of Payne's studies of flawed men doing the best they can: "The Descendants" (2012) and "Sideways" (2005).
— Kate Hahn

The Wolf of Wall Street Martin Scorsese directs Leonardo DiCaprio as a decadent New York stockbroker in this epic party of a film from a memoir by Jordan Belfort. If history is any indication, “Wolf” could bite. After all, Scorsese directed DiCaprio in 2004 Globe drama winner “The Aviator,” another biopic showing the dark side of an American success story. — Kate Hahn

Joaquin Phoenix Her Spike Jonze’s sci-fi love story presented Phoenix, who plays a heart-broken professional letter writer, with an interesting acting challenge: developing a relationship and falling in love with the disembodied, albeit soothing and sultry, voice of his computer operating system. His courtship includes traditional touches, such as a day trip to the beach, and Phoenix brings their partially meta courtship to life in a real way. — Jerry Rice

Leonardo DiCaprio The Wolf of Wall Street” DiCaprio captures the rise and spectacular fall of a reckless New York stockbroker. Thesp is front and center for much of this three-hour biopic, whether it’s delivering chest-pumping speeches or dealing with the effects of too much vodka and Quaaludes. The HFPA has been a longtime fan, this year presenting DiCaprio his 10th nom; he won a trophy in 2005 for “The Aviator.” — Jerry Rice

Oscar Isaac Inside Llewyn Davis” The roster of past winners demonstrates that the foreign press likes new faces and loves bad boys who sing. In his first starring role, charismatic stage vet Isaac balances Llewyn’s misanthropy and narcissism with sweet folk melody. He reminds us that musical genius may lack character, but never wants for soul. — Bob Verini

Bruce Dern Nebraska” Dern’s Woody Grant is a man of few words, but he doesn’t need many. The seasoned thesp’s face and body vividly convey a lion in winter who’s still got a few roars left in him. Globe voters are partial to Hollywood vets, comeback sagas and stories about elders’ wisdom; Dern wraps up all three into one heartwarming package. — Bob Verini

Christian Bale “American Hustle An intelligent but often willfully distancing actor, Bale showcases warmth and bracing comic acumen in David O. Russell’s “American Hustle.” The irony, however, is that Bale’s commanding performance as a lovestruck con man in a neurotic spiral over an escalating FBI sting operation comes from under a hilarious mask of a hair sprayed comb-over, paunch, and garish ’70s threads. — Robert Abele

Amy Adams “American Hustle She may play bad, but in this fast-paced romp, Adams is very, very good. As a con woman angling to amass big cash, Adams swaps her typical sweet innocence for a cool, cunning demeanor that never fully tips into evil. Funny, sexy and always sympathetic, Adams is a five-time Globe nominee and she’s due a big coup. — Randee Dawn

Julie Delpy Before Midnight” From the moment Celine stepped off the train with American backpacker Ethan Hawke (Jesse) in “Before Sunrise,” there hasn’t been one false note in Delpy’s perf. Their cinematic romance reaches its heady Bergman-esque climax in the form of a heated argument in which Delpy explosively airs her marital frustration. It’s a spot-on moment to which any married person with kids can attest. — Malina Saval

Greta Gerwig Frances Ha” Gerwig’s turn as a hapless dancer freshly sprung from college perfectly captures the essence of rudderless young adulthood — messy, humiliating and bipolar in its rapid cycling ups and downs. The scene that sums it up best is when Frances’ credit card is declined at a restaurant and she races crosstown to find cash, tripping and falling flat on her face. Gerwig’s perf, however, doesn’t miss a single step. — Malina Saval

Julia Louis-Dreyfus “Enough Said She won a Globe for “Seinfeld,” and if Elaine Benes were busted by a girlfriend for dating said friend’s ex, she’d bluster and lie her way out of it. But in Nicole Holofcener’s dramedy, a humiliated Eva (Louis-Dreyfus) ’fesses up with heartbreaking shame. It’s a change of pace for the “Veep” star that the foreign press can’t help but embrace. — Bob Verini

Meryl Streep August: Osage County” A favorite of the HFPA, Streep, who nabbed the actress (drama) prize in 2012 for “The Iron Lady,” is particularly deserving in this bigscreen adaptation of Tracy Lett’s Tony Award-winning play. With her withering line delivery, Streep plays a wicked matriarch of near-biblical proportions. In a field of mostly youngsters, win No. 9 would be no shocker. — Bob Verini

The Great Beauty Italy Passion via the intellect has become helmer Paolo Sorrentino’s trademark, well-suited to this dissection of empty diversions, indulged in by latter-day Neros fiddling while Rome burns. The helmer also reveals his immersion in the great Italian cinema of the past, and even when every ingredient can’t be identified, the individual flavors will be familiar to most cineastes. — Review by Jay Weissberg

Blue Is the Warmest ColorFrance
"I have infinite tenderness for you," one woman tells another in "Blue Is the Warmest Color," and it's a sentiment that also describes director Abdellatif Kechiche's attitude toward his characters in this searingly intimate, daringly attenuated
portrait of a French
teenager and her
passionate relationship with another femme.
— Review by Justin Chang

The HuntDenmark
Known for his often icy and violent characters, Mads Mikkelsen impresses here as a warm-hearted man caught up in a situation beyond his control; thesp makes Lucas' immediate isolation and subsequent frustration tangible. Just as good is little Annika Wedderkopp, delivering an impressive perf that suggests she is caught up in something she can
barely understand.
— Review by
Boyd van Hoeij

The Past Iran
This is an exquisitely sculpted family melodrama (from director Asghar Farhadi) in which the end of a marriage is merely the beginning of something else, an indelible tapestry of carefully engineered revelations and deeper
human truths.
— Review by Justin Chang

The Wind RisesJapan “Wind” is easily the most realistic film Hayao Miyazaki has made, with one of its running themes being the power of imagination to turn dreams into reality, and how quickly those same dreams can become nightmares. And though Miyazaki has stated that the intention of the film is not to condemn war, pic continues the strong pacifist themes of his earlier “Nausicaa” and “Princess Mononoke.” — Review by Scott Foundas

The Croods Highlights include an early hunt, with an egg passed from character to character, that gains much from well-timed, Wile E. Coyote-style slapstick; and a nifty escape sequence involving volcanic eruptions, sticky tar and, of all things, makeshift puppets. ... Throughout the animators have lavished loving attention on how different kinds of light (moon, sun, fire) play on the surfaces of skin, fur and landscape. — Review by Leslie Felperin

Despicable Me 2
Co-directors Chris Renaud and Pierre Coffin fully commit to this oddly old-fashioned agenda, presenting a world where a top-heavy hunchback on spindly little legs can be twisted into pretzels when the situation demands. Their playful attitude extends to the voices, which account for much of the pic's appeal. That certainly goes for the Minions (whom the helmers perform themselves).
— Review by Peter Debruge

Frozen
The creative sparks that gave rise to "Snow White and the Seven Dwarfs," "Sleeping Beauty" and "The Little Mermaid" course through its lifeblood. And for sheer princess-centric, femme-focused appeal, "Frozen" arguably outdoes them all, placing not one but two royal heroines, Anna and Elsa, at the center of a story very loosely inspired by Hans Christian Andersen's classic "The Snow Queen."
— Review by Justin Chang